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 Room 5 
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Tomorrow's Apples (5 in White)
1965
Enamel, gouache and mixed media on board
65.4 x 55.6 x 15.9 cm
Tate. Purchased 1979
© Estate of Eva Hesse |
While developing the drawings of
machine parts and cord fragments that lay around her studio floor,
Hesse began to experiment with the materials themselves, collaging
them into three-dimensional reliefs. Starting with a rectangle of
chip board or Masonite, she built up the surface with plaster, papier
mâché, machine parts, cord, wire and paint. The sexually
ambiguous forms and whimsical titles (chosen by Hesse and Doyle
together) lend a playful element to these works. Ringaround
Arosie (1965) was described by Hesse in a letter to Sol LeWitt
as 'both breast and penis'. She gave the piece its title after hearing
the news that her friend Rosie Goldman was pregnant.
The reliefs have a painterly quality. In painting,
however, perspective is generally used to suggest space within a
two-dimensional format, while these works emerge out of the flat
picture plane and into the three-dimensional space of the viewer.
In C-Clamp Blues (1965), Hesse goes a step further, playing
with texture, space and gravity to create a sexually suggestive
image that literally bursts out of its confines and reaches out
from the wall towards the floor.
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Ringaround Arosie
1965
Pencil, acetone, varnish, enamel, paint, ink and cloth-covered
electrical wire on papier-mâché and Masonite
67 x 41.9 x 11.4 cm
Courtesy Martin Bernstein, Birmingham, Michigan
©
Estate of Eva Hesse
Photocredit: Courtesy The Estate of Eva Hesse. Galerie Hauser
& Wirth, Zurich
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